There are 163696 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeGroup of 19 Chinese Yuan or Ming ceramic shipwreck bowls. Each with blue and white decoration.Height ranges from: 1 1/4 in to 3 1/2 in; diameter ranges from 3 1/4 in to 6 3/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Group of 14 Chinese ceramic shipwreck jars or vessels. Decorated in blue and white with floral and geometric motifs. Four with small applied handles along the high shoulders.Height ranges from 2 1/4 in to 4 1/4 in; diameter ranges from 2 3/4 in to 4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Group of three Chinese Ming dynasty ceramic lidded boxes. Swatow ware, decorated in red, blue, and green with floral motifs.Height ranges from 2 in to 2 1/2 in; diameter ranges from 3 1/2 in to 4 3/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Group of 25 small blue and white ceramic Chinese shipwreck jars. With designs of flowers, geometric patterns, landscapes, and birds.Height ranges from 1 1/4 in to 2 3/4 in; diameter ranges from 1 1/2 in to 3 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Chinese Henan ware ceramic bowl, Yuan dynasty. Mottled brown glazed stoneware with iridescent 'oil spots' throughout.Provenance: Estate of Francis J. Caro, owner of Frank Caro Gallery, New York; Tenmoku Auctions, "Summer Asian Art, Francis Caro's Estate Sale," July 15, 2021, Lot 73; Private Minnesota Collection.Height: 2 1/2 in x diameter: 6 in. />Condition: There are no cracks, chips, or restorations. Very light wear throughout. A few small glazing flaws original to production.
Group of 25 Chinese small makeup boxes or lidded ceramic vessels. Most painted with decorations depicting floral motifs, animals, or geometric designs.Height ranges from 1 1/2 in to 2 1/4 in; diameter ranges from 1 3/4 in to 2 3/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Chinese Longquan celadon tripod ceramic pottery bowl. With decorative feet and a partially unglazed interior. Carefully incised marks decorate the sides of the bowl underneath the glaze.Height: 4 1/4 in x diameter: 8 1/2 in. />Condition: There are no large cracks, losses, or restorations. There are a few small chips along the upper rim. Crazing to the glaze throughout. Some wear and small chips to the feet. Several small areas of adhesive residue throughout.
Chinese Ming dynasty ceramic charger or dish with a pale celadon glaze. Incised decoration along the interior of the dish.Height: 2 1/4 in x diameter: 10 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
A CHINESE BLUE AND WHITE OVOID JAR TRANSITIONAL C.1640 The body painted in a fuzzy underglaze blue with a continuous landscape scene depicting an equestrian and his attendant, with further figures and trees in a mountainous landscape, the rim with a band of pendent leaves, and with incised lines, the base with a paper label for Christie’s London, 29th November 1998, lot 682, 24cm.Provenance: from a British Private Collection, formed 1970-2003, purchased from Christie's, London, 26th November 1998, Lot 682. For a closely related jar with its cover, see Transitional Wares and Their Forerunners, an Exhibition presented by the Oriental Ceramic Society of Hong Kong, and the Urban Council, Hong Kong, no.76. 明末清初 青花人物故事紋蓮子罐 來源：英國私人收藏（1970-2003）倫敦佳士得1998年11月26日·編號682。
A CHINESE HENAN-TYPE BLACK GLAZED JAR JIN DYNASTYThe globular body with a tapering cylindrical neck, two strap handles and covered with a lustrous black glaze, with a paper label for Cunliffe T16, and the Oriental Ceramic Society 1952 exhibition, together with a wood stand, 15.5cm wide. (2)Provenance: from the Cunliffe Collection.Exhibited: Oriental Ceramic Society, Sung Dynasty Wares; Chun and Brown Glazes, London, 1952, no.172. 金 黒釉雙耳罐 來源：Cunliffe收藏。 展覽：東方瓷器協會，宋代瓷器展，倫敦，1952年，編號172。
A LATE VICTORIAN STAINED GLASS PANEL DEPICTING THE INTERIOR OF A CERAMIC WORKSHOP IN THE MANNER OF HENRY HOLIDAY (1839-1927), LATE 19TH CENTURY 84 by 76.5cm Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with scattered cracks- remedial work to lead frame and with some later glass replacement small sections Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A Beano Dandy Ceramic Collection group to include BDYP10 Roger The Dodger's Dad "You'd Better Be In There Rodger", BDYP09 Dennis's Dad "Welcome Home", BSK50 The Bash Street Kids (50th Anniversary 1954-2004) plus others similar. Conditions generally appear Excellent to Mint in generally Good to Excellent boxes. (8)
A GOOD CHINESE IMPERIAL ARCHAISTIC SPINACH-GREEN JADE INCENSE BURNER AND COVER 18TH CENTURY Carved in low relief to the exterior with archaistic masks, the stylised design divided by notched high-relief flanges with incised decoration, the squat body flanked by two handles worked as two-horned dragons suspending loose rings, the domed cover surmounted by a flared circular knop surrounded by three recumbent goats, the animals well-depicted with incised details to their spines and beards, all raised on three short feet shaped as animal paws issuing from the mouths of mythical beasts, taotie, the mottled spinach-green stone with a lustrous polish, 24.8cm across. (2) Provenance: formerly the collection of Sir John Buchanan-Jardine Bt; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Sir John William Buchanan-Jardine, 3rd Baronet (1900-69) was Chairman of Jardine, Matheson & Co. Eighty-one Chinese works of art from his collection were exhibited at the Royal Academy Exhibition of 1935-36. Sotheby's held sales of his superb collection in the late 1940s. This incense burner was inspired by the prototype of the archaic bronze gui vessels of the Shang and Zhou periods. The bronze gui was a food container used for ancestral worship. It first appeared in ceramic form in the Neolithic period, and came to have an important role in traditional rituals. In the Ming and Qing periods, the archaic forms of early bronze ritual vessels were recreated in various materials, such as ceramic, lacquer and jade. The present jade censer is smaller in size than the original archaic bronze vessels. It was also used in a very different context, as an incense burner rather than a food container. The taotie refers to a two-eyed mask that appears on almost every Shang ritual bronze. The ancient belief was that the taotie mask represented a wanton spirit. However, modern scholars are divided in their opinions of what the motif really meant, or whether it had any meaning. To employ such a motif from antiquity indicated the revival fashions of the later periods. Cf. The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.83-84, no.71 for a related incense burner, which is part of a set.十八世紀 碧玉雕仿古三陽開泰紋蓋爐來源：John Buchanan-Jardine Bt紳士舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。
A SET OF THREE FINE CHINESE SPINACH-GREEN JADE ALTAR VESSELSQIANLONG 1736-95 Comprising: a tall tripod incense burner and cover of archaic ding form with butterflies to the neck suspending loose rings and two upright handles formed as leaves, a slender gourd-shaped incense tool vase rising from a short flared foot to an inverted rim, and an oval box with a domed cover, each decorated in relief with stylised floral scrolls and sprays, the deep green stone of each vessel with black specks and dark inclusions, each item raised on an elaborate openwork gilt-bronze base, all supported on a unified wood stand carved and pierced with scrolls and ruyi motifs, 22.9cm max. (6) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The incense burner, vase and covered box together form a three-piece incense set, and each item has its own function. The covered box contains incense, usually as powder or in small cakes. The vase holds incense tools such as sticks and spoons, and the large tripod is for burning the incense. The incense burner would be placed in the centre with the vase to its left and the box to its right. One would open the box and then use the sticks to take out the incense and place it into the burner, which would already contain a layer of ash or sand. The incense would then be lit, and the spoon would be used to pull ash around the burning incense, allowing the burning to proceed at a slow pace. After the incense burning, the tools would be put back inside the vase and the incense burner would be covered with its lid. The gourd-shaped vase and round box both have ceramic prototypes, but their decoration shows influences from the Islamic world. The dominant motifs are floral patterns: lotus, poppy, lily, and acanthus leaf, which are also popular on Mughal jades. As in other societies, burning incense is an important part of worship in traditional China. It is performed regularly in front of ancestral tablets and portraits, as well as to Buddhist or Daoist images. In addition to the religious meaning, burning incense also has many health benefits. In the Ming and Qing periods, burning incense became almost a daily activity in royal and scholar-official households. The elaborate design and the very high quality material all suggest that the incense set was likely commissioned by the Imperial Palace, possibly by the Qianlong Emperor who is known to have admired Mughal jades so much that he ordered his court artisans to copy them. Cf. The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.83-84, no.71 for another Qianlong period altar set in spinach-green jade; see also p.82, no.70 for a related white jade set. 清乾隆 碧玉雕爐瓶盒三事及底座來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。
A PAIR OF FINE CHINESE SPINACH-GREEN JADE PRICKET CANDLESTICKS QIANLONG 1736-95 The bell-shaped bases carved in low relief with overlapping pendent leaves enclosing geometric scrolls, the tall stems worked with bands of lappets and prunus blossoms reserved on leiwen to the raised bulbous sections, each rising to a central broad drip pan and surmounted by a smaller drip pan set with a metal pin, the flared trays decorated with ruyi motifs, carved with six notched flanges to each principal section, the rims incised with borders of key fret, with black specks dispersed throughout the dark green stone, 32.3cm. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Candlestick prototypes can be found in China as early as the Han dynasty, usually in ceramic, bronze and lacquer. Jade candlesticks became especially popular during the Qing dynasty, when they were used together with jade incense burners and vases to perform ceremonies at altars. The design and decoration of these pieces show an interesting use of traditional elements, but with several innovations. For instance, in addition to the cicada blades, the rims of the pans and base are incised with fine angular spirals, leiwen. While these motifs appeared as early as on the ritual bronze vessels of the Shang and Zhou periods, the lotus and prunus are clearly much later being more common features of Ming and Qing decorative art. In traditional Chinese symbolism the lotus is a sacred flower held in high esteem by both Buddhists and Daoists; it symbolizes purity, perfection, summer and fruitfulness. The seat of the Buddha is usually decorated with lotus. The Daoist Immortals carry lotus-stems in their hands. Prunus is also well known for its symbolism of seasonality (Winter) and the implication of purity and friendship. By employing these ornamental motifs, the Qing Emperors expressed their desire to be the heirs of ancient Chinese tradition and at the same time, that the objects had to be understood by later generations. Cf. Compendium of Collections in the Palace Museum, Jade, vol.8, p.261, no.224 for a comparable single candlestick; see also pp.262-264, nos.225 and 227 for related pairs of candlesticks in spinach-green jade; see also G Wills, Jade of the East, p.132, no.124 for another similar pair.清乾隆 碧玉雕花卉紋出戟燭臺 一對來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。
A MICROSCOPE LAMP BY J. SWIFT & SON, CIRCA 1880constructed in lacquered brass and signed on the circular foot as per title. Lamp assembly with bull's eye lens and ceramic shade countersigned in transfer with the address of 81 Tottenham Court Road, London W.C. Contained in a fitted box with top handle -- 12¾in. (32.5cm) highEND OF SALENext Sale: 23rd April 2024, closing for entries 23rd February Lacquer in fine original condition, small firing crack in shade, lacking glass stopper to oil reservoir, glass chimney and door to case.
A QUANTITY OF ENAMELLED SHIPPING LINE TEASPOONScomprising 8 plated spoons and 1 silver for various shipping companies including the Orient Line and P&O including one for R.Y. Medina, a plated napkin ring for R.M.S. Osterley, a plated platter for the Orient Line, a ceramic Orient Line ashtray, two ties and three Orient Line small posters(a lot)
A selection of silver and other collectibles, including: a silver backed ink blotter, marks worn; a silver oblong dish, by Henry Matthews, Birmingham 1910; a silver plated egg cruet; an antique lace and mother of pearl hand fan, in Duvelleroy London box; a silver-plated stand with burner; and two Royal Commemorative ceramic mugs.
A collection of Meissen and other decorative ceramic wares, including: a Meissen blue and white ceramic vase, 23.5cms high; a Meissen pin dish and cover; a pair of Meissen circular plates; a Herend Hungary circular plate, with floral decoration and pierced border; and other items, by makers including Royal Crown Derby.
A collection of ceramic nursery wares, including: Royal Doulton ‘Bunnykins’ ceramic tea ware; Wedgwood ‘Peter Rabbit’ ceramics; The Bristol Pottery ‘Little Grey Rabbit’ bowl, designed by Margaret Tempest; and others; together with a selection of blue and white ware, by Copeland Spode; Maling; William Adams; and others.
Muhammad Ali: A signed white ceramic plate, Muhammad Ali, with landscape scene in blue, red and green above. Signature in blue pen. Plate measuring approx. 24cm diameter. The plate comes complete with signed letter from the Parkinson Society Maritime Region, Plates for Parkinson's 2009. Please assess photographs.
Loading...
